Manual The Death of a Writer

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is the birth of the reader. Death of the Author is a concept from midth Century literary criticism; it holds that an author's intentions and biographical facts (the.
Table of contents

• Early fiction
• Elizabeth Wurtzel, Author of ‘Prozac Nation,’ Has Died at 52
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• Virginia Woolf

The omnipresent and deadly threat to the novel has been imminent now for a long time — getting on, I would say, for a century — and so it's become part of culture.

The saying is that there are no second acts in American lives; the novel, I think, has led a very American sort of life: swaggering, confident, brash even — and ever aware of its world-conquering manifest destiny. Many fine novels have been written during this period, but I would contend that these were, taking the long view, zombie novels, instances of an undead art form that yet wouldn't lie down.

Early fiction

They are — in Marshall McLuhan's memorable phrase — the possessors of Gutenberg minds. There is now an almost ceaseless murmuring about the future of narrative prose.

• Elizabeth Wurtzel, author of trailblazing memoir ‘Prozac Nation,’ dies at 52;
• Monsieur Pamplemousse Aloft (Monsieur Pamplemousse Series).
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The populist Gutenbergers prate on about how digital texts linked to social media will allow readers to take part in a public conversation. There is one question alone that you must ask yourself in order to establish whether the serious novel will still retain cultural primacy and centrality in another 20 years. We don't know when the form of reading that supported the rise of the novel form began, but there were certain obvious and important way-stations.

We can cite the introduction of word spaces in seventh-century Ireland, and punctuation throughout medieval Europe — then comes standardised spelling with the arrival of printing, and finally the education reforms of the early s, which meant the British Expeditionary Force of was probably the first universally literate army to take to the field. Just one of the ironies that danced macabre attendance on this most awful of conflicts was that the conditions necessary for the toppling of solitary and silent reading as the most powerful and important medium were already waiting in the wings while Sassoon, Graves and Rosenberg dipped their pens in their dugouts.

Understanding Media tells us little about what media necessarily will arise, only what impact on the collective psyche they must have. In the late 20th century, a culture typified by a consumerist ethic was convinced that it — that we — could have it all. This "having it all" was even ascribed its own cultural era: the postmodern.

Elizabeth Wurtzel, Author of ‘Prozac Nation,’ Has Died at 52

The main objection to this is, I think, at once profoundly commonsensical and curiously subtle. By the same token, if — as many seem keen to assert — postmodernism has already run its course, then what should we say has replaced it, post-postmodernism, perhaps? The use of montage for transition; the telescoping of fictional characters into their streams of consciousness; the abandonment of the omniscient narrator; the inability to suspend disbelief in the artificialities of plot — these were always latent in the problematic of the novel form, but in the early 20th century, under pressure from other, juvenescent, narrative forms, the novel began to founder.

You may find it difficult to concentrate, given the vagaries of your own ageing Gutenberg mind, while your reading material itself may also have a senescent feel, what with its greying stock and bleeding type — the equivalent, in codex form, of old copies of the Reader's Digest left lying around in dentists' waiting rooms.

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I've often thought that western European socialism survived as a credible ideological alternative up until purely because of the Soviet counterexample: those on the left were able to point east and say, I may not altogether know how socialism can be achieved, but I do know it's not like this.

So it was with the novel: we may not have known altogether how to make it novel again, but we knew it couldn't go the way of Hollywood. Now film, too, is losing its narrative hegemony, and so the novel — the cultural Greece to its world-girdling Rome — is also in ineluctable decline. Wurtzel learned she had the mutation after her diagnosis.

Virginia Woolf

As her disease progressed, Wurtzel continued to write about her experience with unabashed confidence. Nothing," she wrote in a essay. I am good in a fight.

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This one goes on for the rest of my life. But I have been fighting with myself in one way or another all along. I am used to it. He was neither modernist nor post-modernist; neither realist nor fabulist. The scale of his work always exceeds small-minded taxonomies.

When we lost the voice of William Gaddis, we lost one of the very few American writers who could produce genuine comedy without sacrificing literary values. Gaddis wrote as a ghost inside the machine of late-model capitalism, with a dark understanding of its costs, and he did so without yielding to the seductions of the literary world. Along the way, he magnified language and imagination, making the tapestry of literature that much more glorious to behold.